In the Line of Duty: A Cop for the Killing Reviews

This above-average TV movie attempts to present both action sequences and psychological insight into policemen who must deal with a death within their ranks. It succeeds in supplying the former if not, despite some good performances, the latter. Lt. Ray Wilturn (James Farentino) assembles his LA undercover drug squad for a bust in which drug kingpin Grande (Tony Plana) is arrested. The smirking Grande, who stands as Wilturn's arch-nemesis, is subsequently released for lack of evidence. The squad's next operation is a disaster in which a civilian and one of Wilturn's men become casualties of a shootout. This incident provkes an investigation by Internal Affairs cop Matsumo (Clyde Kusatsu). Matt (Steven Weber), partner to the downed cop, is so disturbed by the killing that he turns to alcohol; his erratic behavior, as well as the squad members' varying processes of mourning, soon proves a problem for Wilturn, who senses that his squad is falling apart. Now a loose cannon, Matt causes a scene at the funeral for his partner and nearly botches the squad's next bust. Chi Chi (Gregory Millar), an arrested crook, offers to set up Grande. Once his partner's killer has been convicted and the healing process has started in earnest, Matt accepts Martinez (Paul Sanchez) as his new partner. Working like clockwork on Chi Chi's lead, the squad's next operation nets Grande, who is arrested, this time for good, by Matt. Originally broadcast on Nov. 25, 1990 to decent reviews, A COP FOR THE KILLING is the second in the NBC series of IN THE LINE OF DUTY TV movies, which began with the FBI MURDERS in 1988 (one of the better entries in the series was the sixth, the Branch Davidian opus, AMBUSH AT WACO,in 1993). Working from Philip Rosenberg's somewhat simplistic script (which, unlike several other entries in the series, is not based on a true story), producer-director Dick Lowry (a TV movie veteran who helmed other entries in this series and the Kenny Rogers GAMBLER movies) has attempted to imbue a generic cops-and robbers tale with psychological overtones. Despite the fact that the principal characters and their reactions are underwritten and formulaic, much of this is absorbing, mainly due to the quiet but game performances by the leads. One exception is Stephen Weber, who goes over the top too much and too often. Standouts here are the underrated James Farentino (who appeared to good stead in nondescript movies from the 60s to the 70s and has since worked mainly in television) and co-producer Charles Haid, whose presence evokes the somewhat similar HILL STREET BLUES series (1981-87). COP's dramatic scenes unfortunately plod a bit, and Lowry seems much more at home with action sequences, which are crisp and suspenseful, including a very effective nightmare sequence for Farentino. With a gritty production design by Guy Barnes, the film uses its LA locations exceptionally well. Also, to Lowry and Rosenberg's credit is the fact that the narrative jumps are less annoying and disruptive than is usually the case.(Violence, adult situations.)